Saturday, July 29, 2006

July 30, 2006: The Who Boys

July 30, 2006: The Who Boys

Back to the program then, and a bit more current, starting today! I gave it a good try, but going backwards through last year's episodes just made less and less sense as we went further and further back. So, now to begin moving forward with episodes from our third year in syndication, starting where we left off... Stay tuned for episode 105!

This week's Q&A is with a British Mashups outfit calling themselves The Who Boys... One of the reasons I prefer to start podcasting from the most recent year in syndication is because we've really started to focus on keeping things more balanced, genre-wise, this past year. Towards the end of the 2nd year, we'd started airing mashups, like the Who Boys, but we'd also made it a goal to mix things up, in general, with regards to all the different styles of sample-based music and audio art. In addition to mashups, you'll also hear more turntablism, of both the hip hop and experimental variety. Of course, you can continue to count on hearing the more "traditional" tape cut-ups which have been here throughout, as the focus remains on recycled music from all genres.The first Who Boys album that I became aware of was called Tales of Townshend & Wilson, which is a concept album mashing (primarily) songs by The Who and The Beach Boys. Of course, I was immediately reminded of The Grey Album, but this is quite different. There are lots of developing styles within the world of mashups, and while I'm often a fan of those mashups which mix rap acapellas with pop music instrumentals, there is a lot to be said for those who push things a bit further - go a bit more experimental. There's always been lots of room for experimental music here, of course, so I'm pleased to present a track by The Who Boys on this week's podcast (episode 105 - coming right up), as well as their responses to this week's SAR Q&A...

***

*Name:The Who Boys

*Are there any additional names used to describe this project:No. We used to do original tracks under the name Normal, which we then changed to McGovern, then briefly the Whoevermen, until we thought "Oh what's the point? We da Whoboys!!!"

*Do you use a pseudonym?No.

*Members:Mark Rathmell, Giles Hearn and Brian Coleman.

*Founding Member:We started/joined/remained in existing bands in the order of Mark Rathmell, Brian Coleman, and then Giles Hearn*Tape manipulations, digital deconstructions or turntable creations:Digital crimes. With love.

*Why you use this descriptor:6 cans of Stella while we listened to our tunes. Well, would you blame us? It was TUESDAY!

*Location:We're based in London...the sh**ty areas.

*Original Location:Mark and Giles are from up north (England), Brian is from the US.

*What is your creative/artistic background:We were rock musicians, inspired by 60's psychedelia and mod, who fell in love with drum 'n bass and dub.

*History:About 4 years.

*Born:Ah well, that's for us to know and you to wonder! Estimated ages: Giles: 55, Rathmell: 8, and Coleman: 34.

*Motivations:Love of music, hatred of big record labels and pop charts that operate like rigged card games. Excitement. Fun. Beats watching telly, forever. Creativity. You'll never know, baby, you'll never know. The sky's the limit. You'll never know if you don't try. Do it NOW.

*Philosophy:Do what is least expected and make it sound wonderful, or, failing that, outrageous. Which is maybe sometimes the same thing. We're all very exciting people, really. Our lives are maybe more interesting than our music. One of us is a convicted fraudster and failed playwright, another a gambling addict with SEVEN sons, the other a homeless alcoholic - he comes up with all the concepts.

*How would you like to be remembered:As the nutters who made the track that we conceived our first (and hopefully only) child to.

*Web address:www.whoboys.com

***

Thanks to The Who Boys for taking the time to answer the SAR Q&A this week! Be sure to visit their website, where you can download every single track they've ever put together, including at least two mashups albums, and tune in to this week's podcast (episode 105) where a track off of their album "Tales of Townshend & Wilson" is featured along with over a dozen additional sound collages.

In other news: I hope to see you at an event I'm DJing this Friday, August 4th, at Mira Gallery. I'll be spinning the usual tape manipulations, digital deconstructions and turntable creations at a closing reception at 4137 Bloomington Avenue (South Minneapolis), featuring artwork by Andrew Braunberger, Aldo Moroni and Susan Opitz. The reception runs from 6-10pm and there's more info online, at: www.c4ia.org

Next week, things continue to progress with episode 106! Enjoy episode 105, in the meantime... Thanks for listening,Jon Nelson

July 23, 2006: Wolfram

July 23, 2006: Wolfram

The big news is I finally decided to do it. Kind of...

We're taking a 1/2 step towards podcasting new episodes of Some Assembly Required, by discontinuing our original plan of working backwards through the second year... However, we're not jumping straight to episode 133 (which is airing this week, in the 2nd half of our 3rd year in syndication, on the radio). We are instead going to start (next week), at the first episode of our third year in syndication (episode 105).

For the record, what this means is that we succesfully podcast exactly one half (the last half) of our 2nd year in syndication (episodes 79-104), before switching gears. From now on we'll be going forward, chronologically, and the podcast will now stay approximately one half year behind the current episodes (airing on 24 stations across the US and Canada), starting next week with episode 105.

Why the big change? Well, the library has really blown up over this past year, and you can really tell when looking at the playlists. The first year and a half were great, but nowhere near as diverse as things have gotten lately. While we'll eventually get back to podcasting those first episodes, for now it just makes more sense if the episodes being podcast bear more than a passing resemblance to what is currently being heard on the air - from a promotional perspective, at the very least.

So, stay tuned. As we head into the last half of our third year in syndication, on the air, we'll be heading into the first half of our third year, online, via the podcast, starting next weekend. Another good aspect of this new direction for the podcast (for those of you who are paying attention to both the new and old episodes), is that if you like a particular episode on the radio, just wait six months, and there it will be for you to download via the podcast. Yeah.

So, before we take this giant leap, we have one last episode from our 2nd year in syndication to get to. Episode 79 is on the way - the first episode of the last half of our 2nd year in syndication - featuring a track by Wolfram, our feature this week, here at the blog...

Wolfram is one of those artists who just came out of nowhere. I get a lot of CDs in the mail these days, and this was one which actually fit the format of the show. The disc I received was just one of a three disc compilation (Projekt Drei), sent as it was the one CD, of the three, which included samples. I wrote Wolfram about the SAR Q&A and Dominik Kowalczyk wrote back with some answers about the project. English is not his primary language, so the answers are sometimes brief - I'm thankful he took the time he did!

*What is your creative/artistic background:All started in the end of '80's ('87 or '88), when I was involved in some mail-art exchanges. These days I've made some 12 cassettes with sound collages basing as a source mainly on radio and tv broadcasts. All of them were made in really primitive analogue way, using several cassette decks, and home-made delay. Each tape was unique, containing hand made graphics and inserts. And all of them were lost or sent to other people in mail-art actions.

After some break, in the beginning of '90's (1991-3) I was equipped with an old and malfuncional Weltmeister electric organs, made in former GDR (East Germany), Casio SK-1, Roland TR-505, Boss Guitar Delay DS-1, some microphones and cassette decks. I was trying to find some ideas of sound which succeeded only partially.;-)

Later on, around 1996, I was collaborating shortly with Marcelo, leader of Morris Generativ (an industrial-pop group), and these were my first stage appearances. It resulted with one limited edition cassette "Grupa PC" (The PC Group).

From the end of 1996 I was co-funding Neurobot Elektrozine (together with Jacek Staniszewski) neurobot.art.pl and less than two years later it was transformed into the trio (after third member: Artur Kozdrowski, joined) playing improvised noise music. Neurobot as a band was active till July 2003, playing total 23 concerts in Poland, Germany and Austria. Neurobot released 3 CD, the fourth is still planned.

From year 2000 I play solo, in incidental line-ups, and recently with my new group Komora A. I released 6 solo records (mainly CDRs) with ambient and noise music + a bunch of exclusive tracks for compilations. My first release from 2000 "Projekt Drei" consisted of three 3" CDRs representing three fields of my interest these days: plunderphonics, techno, and noise. Further albums oscillated between ambient and noise but I was still thinking about next plunderphonic thing, collecting weird music, samples and ideas. It's a lot of work, but I hope to finish it by the end of the year.

*Born:1969, Warsaw, Poland

*Motivations:Because I really need and want to do it. It gives me satisfaction. It's less than regular work and more than a hobby.

*Philosophy:No philosophy or ideology.

*How would you like to be remembered:Like a guy who is not giving a s***.

*Web address:wolfram.art.pl

***

Thanks to Dominik Kowalczyk for sending his answers about Wolfram. Be sure to check out episode 79, up in just a few, featuring nine sound collages, including one by Wolfram...

In other news, Relay #2 went off without a hitch. Thanks to all of you who came out to support us at Rosalux Gallery on Friday. Stay tuned for the last of the summer series in August. I'll be sure to remind you, closer to the date (Aug18). In the meantime, I'll be DJing a party at Mira Gallery on August 4th, featuring artwork by Andrew Braunberger, Aldo Moroni and Susan Opitz. More info about the show at: www.c4ia.org and I'll remind you next week, of course.

Until then, thanks for listening (and tune in next week for big changes)!Jon Nelson

July 16, 2006: DJ Food

Back on the horse; here we go... This week's feature is on Strictly Kev of the inimitable DJ Food. In fact, we'll focus on DJ Food in general, on our way to the SAR Q&A with Strictly Kev...

I believe I was aware of the project (DJ Food) prior to last year, when the original version of "Raiding the 20th Century" arrived in my mailbox; however, I had yet to focus very closely. I had recently moved into a room on the 2nd floor of a friend's house in South Minneapolis, and was paying part of my rent by helping out with the remodeling of said house. I'd read the source list on the back of the sleeve and popped the disc in to a paint splattered CD boombox, to listen as I worked on painting the dining room. The 39+ minutes just flew by, and I had to press Play again (and again).

(first photo: Strictly Kev, lost at the center of a swarm of detritus)

I was immediately impressed by this dedicated composition (Raiding the 20th Century) -- a collage of work by sound collage artists. Described as a history of the cut-up, the track was as much a documentary about the developing use of audio appropriation over the decades as it was a mix of popular and experimental music. Either way, I knew it had a place on the show. Many of the artists who receive regular airplay on Some Assembly Required were featured right alongside a slew of the mashup artists I was only just then starting to throw into the mix, on the show.

I aired the mix, in its entirety, on Some Assembly Required one week, and a funny story is, I actually lost a station thanks to having missed a few expletives, in my rush to get it out to syndicating stations. I, of course, try very hard to meet or beat the FCC's expectations for family friendly radio, as the show airs at various times of the day, from station to station. Unfortunately, a station in Texas cancelled us soon after, writing to inform me that there had been a couple of f-bombs buried where I hadn't been listening closely enough. A lesson learned the hard way. Note also, that in episode 80 (this week's podcast) I refer to Raiding the 20th Century as being by Strictly Kev, rather than DJ Food, as I was a bit confused at the time, about the identity of the artist. I should have done a bit more research...

I wrote DJ Food (Strictly Kev) a couple of months later, to see about an interview, and by coincidence, discovered that he was just about to begin work on a revamped version of the project. He'd read a book called "Words and Music" (by Paul Morley), since finishing the first mix and had been moved by much of what he'd discovered there. He contacted Morley and recording him reading some passages of the book, to be included in the updated version of Raiding the 20th Century, which was to include a much broader selection of examples of cut-up music. In fact, Strictly Kev asked if I'd submit some examples of work by artists who receive regular airplay on my show, and I'm proud to say that many of the samples I sent made it into his new version. Along the way, he had also downloaded my interview with Steve Stein, of Steinski and Mass Media (one of the very first interviews I did on the program), and included a snippet of that conversation in the mix as well. I have a handful of proud memories associated with doing this program. This is one of the big ones!

(second photo: DJ Food's Patrick Carpenter and Strictly Kev)

Of course, DJ Food goes back a lot further than these two great mixes! The project began in 1990, as a side project for Matt Black and Jonathan Moore, of the highly influential project Coldcut. According to Strictly Kev, the duo started by releasing a series of "food for DJs" records called the Jazz Brakes series. Along the way, they worked with a few other artists, including Paul Brook, Patrick Carpenter, Issac Elliston, Strictly Kev and Paul Rabiger. Eventually, they went back to working primarily as Coldcut and DJ Food fell to Patrick Carpenter and Strictly Kev. At some point Carpenter left to focus on his project, The Cinematic Orchestra, leaving DJ Food to Strictly Kev (who has also recorded as Flexus Intro).

There are several DJ Food records, including six of the Food For DJs series (which eventually transcended its original function, as a simple collection of samples, loops and breaks for DJs to mix with) and a best-of collection of remixed tracks from this series was compiled in 1996. A Recipe For Disaster was put out in 1995, and in 2000, Kaleidoscope was released, featuring Bundy K. Brown and Ken Nordine (of Word Jazz fame). Raiding the 20th Century was released online in 2004, and one year later, the final version was also released online.

Without further ado, here's the SAR Q&A with Strictly Kev, of DJ Food...

***

*Name:DJ Food

*Are there any additional names used to describe this project:I go by the pseudonym Strictly Kev personally, as DJ Food can be used for more than one person.

*Members:Kevin Foakes (Strictly Kev)

*Founding Members:Matt Black and Jonathan Moore (Coldcut)

*Tape manipulations, digital deconstructions or turntable creations:Digital. More like reconstructions than deconstructions though.

*Location:London, England

*What is your creative/artistic background:I've been a DJ, originally from a hip hop background, for 21 years now and also have a degree in Graphic design. Cut up music / sampling immediately appealed and I've been fascinated by it ever since.

*History:I've been a member of DJ Food for 10 years or more and DJing since '85.

*Born: Reigate, Surrey, UK

*Motivations:Because I can. Sampling appeals because I never learned to play an instrument. Having any sound at your fingertips with the ability to construct something new from it is a joy.

*Philosophy:No great philospophy, although I do have a set of parameters I work within, in respect of what I sample and how I do it.

*How would you like to be remembered:With a smile, being remembered at all would be a good thing.:)

*Web address: www.djfood.org

***

Be sure to download this week's podcast (episode 80, on its way) to hear the original version of Raiding the 20th Century. Thanks to Strictly Kev of DJ Food, for being the focus this week, here at the SAR blog!

July 9, 2006

July 9, 2006

Dropping the ball, folks... Sorry to report that there is no Q&A this week. First time since we started doing it. We've already done a Q&A with most of the artists being played on this week's podcast episode, and the few remaining just didn't get their answers to us in time. I'm sure they will eventually, though. So this is going to be just a standard Blog Entry. Perhaps a time for reflection...

Okay. So, its July 9, 2006, and we started podcasting Some Assembly Required on January 2, 2006. That's just over half a year. Counting today's podcast (episode 81 - stay tuned), we have succesfully uploaded two dozen episodes from our second year in syndication. In that time, we've also contributed three special episodes, including a Valentines Day Mix and an Easter Themed Mix (the third was our fundraiser in March). Of course, we started with a special Xmas mix in December of 2005. So that's nearly thirty podcasts, altogether! We're well on our way to a full year podcasting.

I'm continuing to debate whether or not to continue with the plan to upload the entire second year before moving on to more recent episodes. On the one hand, I'd like to finish what I started (not that we won't eventually get these all online at some point - the question is just in what order?), but on the other hand, I'm really happy with how the current episodes have been turning out, and part of me wants to be podcasting THOSE - now, rather than later. I know better than to try to upload two episodes a week. One episode a week is more than enough, I'm sure, for most people. So, for those of you who care - be aware that I'm considering jumping forward quite a bit and then returning to the archive project in the future. We'll see.

In other news, I've been planning a lot of features lately - doing quite a few interviews with sound collage artists. I guess that's part of the reason why I want to jump from the current schedule. I'd like to merge the two audiences. Right now there are those who listen to the show via the radio, and those who listen via the podcast. Wouldn't it be nice if they were listening to the same thing? Another part of what's been motivating this line of reasoning is that all the syndicating stations are FINALLY on the same schedule starting this month, and I'm finding that I'm very happy about this. Prior to this change, there had been three separate schedules... Those who listened in Minneapolis heard one schedule (airing on KUOM), those who listened to one of the two dozen syndicating stations were hearing a separate schedule and those who listen to the podcast heard a THIRD schedule. It may not seem like a lot, but keeping up with all the different schedules is more difficult than if everyone was hearing the same thing. So, if the podcast schedule changes in the coming months, this is at least part of the reason why.

Okay, so I blew it by not providing a Q&A this week, and then made matters worse by talking about scheduling for the whole post. What am I thinking?

If you're actually reading this, then you must be a big fan of the show. If so - drop me a line! It's really pretty rare that I hear from listeners. Which isn't too surprising really... I mean, who thinks to call or email the DJ? I know I don't. There are a couple of different shows I listen to, and I NEVER get in contact with the host. It just doesn't even occur to me to do that. I assume s/he's so overwhelmed with supportive feedback that more would just be an unwelcome distraction, I guess. Well, let me tell you, when I get a nice email it really makes my day. So drop me a line! I'm at: ASSEMBLY (AT) DETRITUS.NET

okay - episode 81 should be ready to go by now. So let's get to it. Tune in next week, for a feature on DJ FOOD. I interviewed Strictly Kev for episode 81, which is next week's podcast, and he filled out the Q&A for next week's blog as well - so, I'm getting back on the horse, starting next week! Until then...

July 2, 2006: Steve Fisk

July 2, 2006: Steve Fisk

Updated: July 4, 2006

Well, I guess its not going to be as easy to keep this up as I thought! Getting a new Q&A each and every week, that is. The scheduled feature this week is with Steve Fisk, so I'll just do a little online research and fill in the questions for now... (note: an email this afternoon from Mr. Fisk indicates that they are on their way)!

July 4 Update: They were indeed, and the updated Q&A is below. We agreed to simply add his (and bandmate, Greg Gillmore's) answers after the Q&A I started on Sunday. Read on...Steve Fisk is one of those legendary figures in the world of sound collage. I first became aware of his work about eight years ago when I began a search for his record Over and Thru the Night. It had received rave reviews on one of the listservs I belonged to and at the time I was scrounging everywhere to find anything that recycled sound. Finding any clues whatsoever was exciting, and I sought out every album I caught wind of, back then. In a way, I kind of miss those days. Now I get a dozen CDs every month, and tons of emails announcing new releases every week, most of which don't even fit the format of the show! Having to sift through all of that, to find the one or two gems (inevitably hiding beneath it all), can be kind of a challenge. I'm happy to do it - don't get me wrong. I'm just remembering how it used to be - the thrill of the chase, as opposed to the process of elimination...

So after searching tirelessly for Steve Fisk's Over and Thru the Night, and always coming up empty-handed, I finally just called the label, or the distributor, or someone with a relationship to the record. I must have found their number online, I guess. The guy who answered the phone confirmed that the system did say it was out of print, but he hesitated and said he had a funny feeling... When he came back to the phone, he told me he had found a box hiding in a backroom or somewhere, and asked if I would like to place the order! Of course I did, and when the CD finally arrived in my mailbox, I felt like I'd found buried treasure.

The funny thing is, I was familiar with Fisk's work even before that record ever arrived in my mailbox, though I hadn't put two and two together at that point. He has worked as producer with several of my favorite bands over the years, including Nirvana, Soul Coughing, Low and Damien Jurado. He also produced a great spoken word CD by Steven Jesse Bernstein called Prison. He's worked with a ton of other artists as well - check out his website for more information about all the projects he's been involved with.

Here's the SAR Q&A with Steve Fisk, as filled in by me. Hopefully we'll be able to replace this, later this afternoon. If not, here goes...

***

*Name:Steve Fisk

*Are there any additional names used to describe this project:Fisk joined vocalist Shawn Smith to form Pigeonhed, releasing their debut album in 1993. See below for a list of other bands he's been in...

*Tape manipulations, digital deconstructions or turntable creations:Steve Fisk is an engineer, producer and musician. His solo records often use sampling techniques and include lots of appropriated sounds. My guess is that he's familiar with both tape manipulations and digital deconstructions.

*Location: Seattle, Washington

*What is your creative/artistic background: (Copied directly from his Myspace page...)Greg Gilmore, Leo Mayberry and I play "improvised" shows infrequently around the Northwest. We're working on a name. We might have a "live" record soon. I have played in Heather Duby's band. I have rocked with Kim Thayil, George Lynch and Dave Alvin. I was also in Cut Out, Pell Mell, Pigeonhed, Halo Benders, Anonymous, Customer Service, Tiny Holes, War with Elevators, The Fisk Fibers, Nashville Chubs and the Tennesee Tanglers, The Elrukns, Havana 3 A.M., Tungus Grump, John Foster's Pop Philosphers, West Side Lockers and the Chains of Hell Orchestra.*History: (also from Fisk's Myspace page...) I also produce records. The Wedding Present, Screaming Trees, Unwound, Beat Happening and MANY others. The list is at stevefisk.com. Career Highlite: I believe I was the first person to interveiw Dot Wiggin about the Shaggs and their wonderfull record "Philosphy of the World."

*Web address:www.stevefisk.com

July 4 Update: Since posting this Q&A, Steve Fisk and Greg Gilmore wrote in with some answers, pertaining to their band, Archivaro Vertical, so I’ll add them here, as a short “PS” to this week’s SAR Q&A, with Steve Fisk…

*Another genre descriptor:Greg Gilmore:If you make up a weird word to describe yourself you'll just be asked to define what it means. Then you're in trouble.

*Location: Seattle

*What is your creative/artistic background:Steve Fisk:I was in bands, studied comp somewhat formally. Greg was in bands and knows too much about computers. Leo is a VJ.

*History: 4 years

*Born:Steve Fisk:I was born in Long Beach, California. I don't know about the other guys.Greg Gilmore:Just a few years after Steve, in Verdun, France.

*Motivations:Steve Fisk:We try to entertain ourselves and our small audience. We never rehearse. So I guess we're improvisers.Greg Gilmore:Discovering what music might come from a pregnant, empty moment.

*Philosophy:Steve Fisk:We never rehearse.

*How would you like to be remembered:Steve Fisk:We never took the easy way out.Greg Gilmore:And we never rehearsed.

*Web address:Steve Fisk: stevefisk.comGreg Gilmore:Like a cobler with no shoes...